True,
the orchestration will always have to be done by the master's own
hands, but in other respects musicians of the future will be as
greatly benefited as men of letters by the new phonograph which, it is
predicted, will create as great a revolution in social affairs as the
telegraph and railroad did when first introduced.
The charm of improvisation lies, of course, in this, that we hear a
composer creating and playing at the same time. This very fact,
however, ought to make us cautious not to overestimate the value of
such improvisations. For we all know how a great genius can invest
even a commonplace idea with charm by his manner of expressing or
rendering it. It is probable, therefore, that in most cases these
improvisations, if noted down and played by _others_, would not make
as deep an impression as the regularly written compositions of the
great masters. It is with music as with literature. Schopenhauer says
that there are three classes of writers: The first class, which is
very numerous, never think at all, but simply reproduce echoes of what
they have read in books.
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